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Topic: Surbahar

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	::welcome to SHAFAATULLAH KHAN online::
		Surbahar means ‘melody of Spring’ and the instrument was developed by Sahebdad Khan, the great-great-grandfather of Shafaatullah Khan.
		The surbahar, which is played in the noble style of dhrupad, with its wide range of over four octaves, its richness of overtones, its majesty of utterance, can be regarded as the most magnificent of all Indian instruments, capable of elevating the listener to a very high level of spiritual experience.
		Because the surbahar produces a deep, dignified sound it lends itself to the alap, jorh, and jhala portions of a raga.
	www.shafaatullahkhan.com /surb.php (285 words)

	Surbahar - Encyclopedia, History, Geography and Biography
		The surbahar (also known as bass sitar) is a plucked string instrument used in the Hindustani classical music of North India.
		The surbahar is over 130 cm (51 inches) long, uses a dried pumpkin as a resonator, and has a neck made of teak with very long frets that allow a glissando of six notes on the same fret by the method of pulling.
		The surbahar has four rhythm strings (cikari), four playing strings (the thickest is 1 mm in diameter) and 15 to 17 unplayed sympathetic strings.
	www.arikah.com /encyclopedia/Surbahar (280 words)

	NationMaster - Encyclopedia: Imrat Khan
		His father was Enayat Khan (1895–1938), recognised as a leading sitar and surbahar player of his time, as had been the grandfather, Imdad Khan (1848–1920), before him.
		Wahid Khan was a surbahar master, and taught Imrat on the instrument in the family style, known as the Imdadkhani gharana (school), or Etawah gharana, after a village outside Agra where Imdad Khan lived.
		Imdad Khan with the surbahar, an instrument he is said to have invented Imdad Khan (1848â€“1920) was a famous Indian sitar and surbahar player, the grandfather of 20th Century sitar great Vilayat Khan.
	www.nationmaster.com /encyclopedia/Imrat-Khan (846 words)

	Raga Exchange - Music of India - Steven landsberg
		The invention of the surbahar, around 1825, is attributed, variously, to Ustad Sahebdad Khan, the father of the legendary Ustad Imdad Khan, and a lesser- known Lucknow-based early 19th century sitarist, Ustad Ghulam Mohammed.
		In the sitarist tradition of the surbahar, Ustad Imdad Khan (1848-1920), the grandfather of the contemporary sitar maestro, Ustad Vilayat Khan, was a landmark figure.
		Surbahar performance has evolved around two distinct traditions: the Dhrupad tradition, which still regards the surbahar as the closest approximation to the Rudra Veena and the post-Dhrupad, sitarist tradition which treats the surbahar as a specialist instrument for the sitar- type alap form.
	www.ragascape.com /Ragascapes/3.html (958 words)

	Surbahar
		She studied instrumental music with Ustad Imrat Khan, the world's acknowledged master of the surbahar; vocal music in the khayal style with the late Pandit Shrikant Bakre; the South Indian technique of tanam with Kalaimamani Ranganayaki Rajagopalan; and dhrupad with the Gundecha Brothers.
		She has performed on surbahar throughout the United States, including at Lincoln Center in New York and the National Museum for Women in the Arts in Washington, and in concert and in radio and television broadcasts in India, Pakistan, Bangladesh, Europe, Great Britain, Morocco, and Central and South America.
		In 1994, 2000, and 2006, she was recognized for her surbahar performance by the D.C. Commission on the Arts and Humanities and the National Endowment for the Arts.
	www.surbahar.com (765 words)

	www.india-instruments.de
		Surbahar appeared on the Indian musical scene in the early years of the nineteenth century around 1830.
		Surbahar players were quite knowledgeable and traditionally sound in the rendition of alap and jodalap anga.
		As mentioned earlier, the playing technique of the surbahar is quite different from that of the sitar, which is more influenced and inspired by been music, as it is more suitable for the alapchari of been anga than the fast rhythmic pieces played on the sitar.
	www.india-instruments.de /pages/glossar/g-surbahar.html (938 words)

	Surbahar
		Surbahar combined the tone and volume of the sitar with the sustain and lower range of the rudra veena.
		The large size of the surbahar made it difficult and tiring to play for the average musician.
		the tradition of surbahar, as a modern equivalent for the nearly extinct rudra veena.
	www.davidpontbriand.net /Surbahar.html (365 words)

	Surbahar
		Surbahar combined the tone and volume of the sitar with the sustain and lower range of the rudra veena.
		The large size of the surbahar made it difficult and tiring to play for the average musician.
		the tradition of surbahar, as a modern equivalent for the nearly extinct rudra veena.
	www.davidpontbriand.com /Surbahar.html (365 words)

	Indian Classical Music :: --The Surbahar (Site not responding. Last check: )
		The Surbahar, the larger cousin of the sitar was also developed by the Etawa Gharana.
		The surbahar has always been played by only a few musicians as it is more complicated and technically difficult than its relative the sitar.
		Surbahar ang (style) of playing is based on Dhrupad, the oldest, purest and most rigid form of singing with long, slurring meends created by the pulling of the strings along the frets to give a range of 7 notes from one note.
	www50.brinkster.com /imratkhan/clasical3.htm (215 words)

	Indian Classical Music: The Surbahar (Site not responding. Last check: )
		The music produced by the surbahar is however, the most glorious blend of deep echoes, vibrations and resonances.
		Surbahar ang (style) of playing is based on Dhrupad, the oldest, purest and most rigid form of singing with long, slurring meends created by the pulling of the strings along the frets to give a range of seven notes from one note.
		He has developed Surbahar ang into the style which is known today and has passed his knowledge of this regal and majestic instrument to his son Irshad who maintains the gharanas traditions as surbaharists.
	www.imratkhan.com /classical.php?page=3 (217 words)

	Surbahar
		The surbahar has an advantage over sitar in that it has a longer sustain and an ability to meend (glissando) up to an octave in a single fret.
		The instrument's main weakness is that its long sustain causes a fast jhala to become indistinct and muddy.
		It is for this reason that some artists prefer to play the alap with surbahar but shift to sitar for gat and jhala.
	www.infoweb.co.nz /surbahar (150 words)

	Surbahar
		Surbahar is a plucked strings instrument of the Sitar family.
		The surbahar is very similar to the sitar, but larger, and with a deeper tone.
		The Surbahar has 4 rhythm strings (cikari), 4 play strings (the thicker is 1mm in diameter) and 11 to 17 unplayed sympathetic strings.
	classics.nu /surbahar.html (236 words)

	Tarang - Indian Stringed Instruments: Basic Information on Surbahar
		The Surbahar which is usually tuned a fourth lower than the Sitar, could be called a bass Sitar.
		Consequently, the Surbahar is significantly longer than a Sitar and also has a wider neck.
		Contrary to Sitars, Surbahars are less standardized and are thus available on the market in lots of different sizes and shapes and with different features and decorations.
	www.indian-instruments.com /sitar_surbahar/surbahar_informationen.htm (144 words)

	CD Baby: SHUBHA SANKARAN: Resurrecting a Raga
		In 1994, 2000, and 2006, she was recognized for her surbahar performance by the D.C. Commission on the Arts and Humanities and the National Endowment for the Arts.
		The surbahar is characterized by its deep, rich voice, and has a practical range of three and a half octaves, with a wide neck, thick strings, and a single large, flat gourd.
		The surbahar has sympathetic strings that help to create the distinctive sound of the instrument, and employs the technique of "bending" a note by the deflection of one of the playing strings sideways across a fret for a range of up to seven tones.
	cdbaby.com /cd/sankaran1 (456 words)

	CD Baby: SHUBHA SANKARAN: Resurrecting a Raga
		The surbahar is characterized by its deep, rich voice, and has a practical range of three and a half octaves, with a wide neck, thick strings, and a single large, flat gourd.
		The surbahar has sympathetic strings that help to create the distinctive sound of the instrument, and employs the technique of "bending" a note by the deflection of one of the playing strings sideways across a fret for a range of up to seven tones.
		The right side of the pakhawaj is tuned precisely to and resonates with the tonic of the surbahar, while the left side is given an additional ineffable broad-spectrum depth by an appliqué of moist flour paste.
	www.cdbaby.com /cd/sankaran1 (454 words)

	Surbahar: an Instrument of Dhrupad (Site not responding. Last check: )
		The Surbahar was created in the nineteenth century because many Rudra Veena maestros would give training on the veena only to their direct descendants.
		The harmonics in the Surbahar are not as prominent as in the Rudra veena.
		However the Surbahar is easier for players who have trained on the sitar and remains the instrument of choice for sitar players who wish to play the Dhrupad style.
	www.tanpura.de /surbahar.htm (128 words)

	Amherst College : News & Events: News Releases : Surbahar
		Sankaran plays the surbahar, a mellow-toned Indian stringed instrument or esraj, that resembles a larger, deeper-toned sitar.
		Usually 60 inches long, the surbahar has movable frets that allow a glissando of six or seven notes on the same fret by pulling the string across the fret.
		The surbahar has four rhythm strings, four play strings, and 11 to 17 unplayed sympathetic strings, all lying on a flat bridge.
	www.amherst.edu /~pubaff/news/news_releases/01/surbahar.html (359 words)

	Little India
		After my father died, my mother would carry his surbahar with her and hold it against her heart as if it was the most precious thing in her life.
		The surbahar is a much heavier instrument and I still have scars on my ankles where it was placed when I was a young child.
		The surbahar was created by my great grandfather and made famous by my grandfather and I am so proud that no other gharana has been able to master both sitar and surbahar like we have.
	www.littleindia.com /february2005/LightsandShadows.htm (4616 words)

	From Computers to Surbahar - 2004-07-16 (Site not responding. Last check: )
		She is one of only a handful of concert artists in the world –- and the only woman -- specializing exclusively in the surbahar, a super-sized version of the more familiar sitar.
		Because it is a large instrument, you’ve got to be big enough to be able to handle the instrument physically, and his feeling was women were not equipped to do that.
		Her primary reason for coming to the United States was not to play the surbahar, however, but to find a job.
	www.voanews.com /english/archive/2004-07/a-2004-07-16-32-1.cfm (939 words)

	Steven Landsberg: The History of an Indian Musical Instrument Maker
		Then again, some sitar players who wanted to develop the slower unaccompanied part of the music, required a second instrument called a surbahar, a larger deeper toned instrument, which looks like an oversized sitar, but is more like a rudra veena.
		The small sitar disappeared and although the surbahar is still around, it lost the popularity that it had during the last part of the nineteenth century.
		In fact, one may find one of their sitars, surbahars, and veenas, in practically every part of the world today.
	www.asianart.com /articles/landsberg/index.html (2131 words)

	Surbahar: Windows to the Heart: Melodic Mosaics of India
		This CD explores the depth of Indian tonality on a large fretted stringed instrument known as the surbahar.
		Accompanied by the pakhawaj, the ancient two sided hand drum, and the all encompassing spaciousness of the tambura; the surbahar inspires and invites listeners towards tranquil contemplation
		Surbahar: Windows to the Heart: Melodic Mosaics of India
	www.germanbooks88.com /music45/surbahar_windows_to_the_heart_melodic_mosaics_of_.html (206 words)

	The Hindu : Friday Review Bangalore / Music : `I live music'
		Son and disciple of Ustad Imrat Khan and nephew of Ustad Vilayat Khan, he is one of the finest exponents of the sitar and surbahar in contemporary times.
		Ustad Sahebdad Khan, a mystical musician, Irshad's grandfather's grandfather is said to have invented the surbahar from the Kachua veena.
		His large ancestral home in Calcutta, The House of sitar and surbahar, located in Park Circus on Inayat Khan Avenue, stands as an abode of music in memory of the eminent Etawah masters who took the sitar and surbahar to great heights of sophistication.
	www.thehindu.com /fr/2007/02/16/stories/2007021601870300.htm (726 words)

	CD Baby: STEPHAN MIKéS: Sounds of the Surbahar (Site not responding. Last check: )
		The Surbahar, or bass Sitar, with clay pot drum and Tamboura,performing Indian classical improvisations.
		"Surbahar" translated from Hindi means "springtime of notes." Its origins are traced to Kanpur, India, where it first appeared around 1825.
		A reference to the surbahar in an English publication of 1891 states, "The tone is rich and mellow, like that of a veena, but the large size of the instrument renders its use fatiguing, while the cost is very high."
	www.cdbaby.com /cd/mikes6 (163 words)

	melbournemusic.info - glen kniebeiss + chris sprague - tabla, surbahar, mandocello, sitar, oud, melbourne australia
		Deeply informed by the musical traditions of india and the middle east, minimalism and the element of trance, they conjure new textures using the indian tabla, surbahar (baritone sitar) and the mandocello.
		Having spent their formative years in the broad open landscapes of the south australian desert and the wimmera, chris and glen’s music is imbued with the same sense of depth and spaciousness.
		A decade long musical partnership and extensive training in India has resulted in a chemistry that draws deeply on tradition whilst allowing a style of spontaneous intuitive interplay that is a joy to experience.
	melbournemusic.info /index.htm (242 words)

	[No title] (Site not responding. Last check: )
		His sons, have concentrated on mastering a different instrument: Nishat the sitar, Irshad the sitar and surbahar, Wajahat the sarod and Shafaatullah the tabla.
		In fact, those who play on surbahar, an instrument which is a cross between sitar and sarod, are not many in India.
		His partnership with brother Vilayat Khan led to their forming the first ever sitar and surbahar duo, a combination which led to their being invited in 1956 to join the first Indian cultural delegation to tour the Soviet Union and Eastern Europe.
	www.viewsunplugged.com /VU/20030918/interactives_spotlight_ustadji_pf.shtml (1157 words)

	MySpace.com - surbahar - Sofia, BG - Ambient / IDM / Minimalist - www.myspace.com/pavelot
		MySpace.com - surbahar - Sofia, BG - Ambient / IDM / Minimalist - www.myspace.com/pavelot
		Chill Om Records presents the exclusive worldwide release of India's premier ethnic-electronic compilation AZAAD-E featuring 12 global music architects from all around the world on iTunes on 13th Nov 2007.
		Pavel Stoychev - Surbahar is a solo project inspired from the nature and the vedic science of inwardly knowledge.
	www.myspace.com /pavelot (559 words)

	Ragascape - Music of India - Steven Landsberg
		This has often times been a pursuit of balance; and it has indeed been the case that some artists have given more weight to tradition while other musicians have pushed the scales to the side of artistic innovation.
		Sources provides information on the 350 year old tradition of Ustad Mushtaq Ali Khan, the most outstanding surbahar player in the dhrupad style of this century, and the greatest exponent of the Seniya sitar style in recent times.
		Please visit CD world where you may purchase CDs of prominent Indian musicians as well as the music of Steven Landsberg, Mushtaq Ali Khan's only surbahar disciple.
	www.ragascape.com (295 words)

	The Great Heritage Continues (Site not responding. Last check: )
		The depth and range of the Surbahar makes it ideal for the Gayaki ang, vocal style of playing which was first introduced to Indian classical music by Ustads Imdad and Enayat Khan.
		Consequently, he spent many hours each day playing the surbahar with the finest singers who would be invited to sing by his mother until the surbahar really did “sing” in his hands.
		The result was a highly versatile and accomplished young musician who could play both the sitar and surbahar with deftness and skill, be it as a soloist, with accompaniment or in a duet.
	www50.brinkster.com /imratkhan/heritage2.htm (1339 words)

	CD Baby: STEPHAN MIKéS: Sounds of the Surbahar
		The Surbahar, or bass Sitar, with clay pot drum and Tamboura,performing Indian classical improvisations.
		"Surbahar" translated from Hindi means "springtime of notes." Its origins are traced to Kanpur, India, where it first appeared around 1825.
		A reference to the surbahar in an English publication of 1891 states, "The tone is rich and mellow, like that of a veena, but the large size of the instrument renders its use fatiguing, while the cost is very high."
	cdbaby.com /cd/mikes6 (163 words)

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